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The Lonely Passion of Judith Hearne (1987)
Neil Sinyard

The performances that have made the most impression on me, that have the deepest effect – when I narrowed it down to three out of the many – I realised are all those of character actresses. Judy Holliday in Born Yesterday , Giulietta Masina in La Strada and Maggie Smith in The Lonely Passion of Judith Hearne. In each what inspires me is their skill coupled with a presence, and by that I don

in Jack Clayton
Affect and artifice in the melodramas of Isabel Coixet
Belén Vidal

Lili Taylor as Ann, a young woman experiencing loneliness and depression, Things I Never Told You had all the trappings of the contemporary American independent (‘indie’) film. For the purposes of my argument, I use this category to refer to the narratives and iconography characteristic of a series of small-budget American films released since the mid-1980s. The indie film distances itself from

in Contemporary Spanish cinema and genre
Steven Earnshaw

418 7 Brian Moore, The Lonely Passion of Judith Hearne (1955): abandonment But what if the godless were right …? We are quite a few pages into The Lonely Passion of Judith Hearne before discovering Judith Hearne’s drinking habit,1 and it is then that we begin to realise how her drinking is entangled with a growing intimation that God is no longer part of her life. Alienated through ostensibly social causes such as her ‘odd duck’ physical appearance and family responsibility, the character’s dulling of reality through drink is also her response to the kind of

in The Existential drinker
The Korean Horror Films of Ahn Byeong-ki
Ian Conrich

The new wave of Korean cinema has presented a series of distinct genre productions, which are influenced by contemporary Japanese horror cinema and traditions of the Gothic. Ahn Byeong-ki is one of Korea‘s most notable horror film directors, having made four Gothic horrors between 2000 and 2006. These transnational horrors, tales of possession and avenging forces, have repeatedly been drawn to issues of modernity, loneliness, identity, gender, and suicide. Focusing on the figure of the ghostly woman, and the horrors of modern city life in Korea, this essay considers the style of filmmaking employed by Ahn Byeong-ki in depicting, in particular, the Gothic revelation.

Gothic Studies
Open Access (free)
Jazzing the Blues Spirit and the Gospel Truth in James Baldwin’s “Sonny’s Blues”
Steven C. Tracy

The webs of musical connection are essential to the harmony and cohesion of James Baldwin’s “Sonny’s Blues.” As a result, we must explore the spectrum of musical references Baldwin makes to unveil their delicate conjunctions. It is vital to probe the traditions of African-American music—Spirituals, Blues, Jazz, and Pop—to get a more comprehensive sense of how Baldwin makes use of music from the sacred and secular continuum in the African-American community. Looking more closely at the variety of African-American musical genres to which Baldwin refers in the story, we can discern even more the nuances of unity that Baldwin creates in his story through musical allusions, and shed greater light on Baldwin’s exploration of the complexities of African-American life and music, all of which have as their core elements of human isolation, loneliness, and despair ameliorated by artistic expression, hope, and the search for familial ties. Through musical intertextuality, Baldwin demonstrates not only how closely related seemingly disparate (in the Western tradition) musical genres are, but also shows that the elements of the community that these genres flow from and represent are much more in synchronization than they sometimes seem or are allowed to be. To realize kinship across familial (Creole), socio-economic (the brother), and most importantly for this paper appreciation and meanings of musical genres advances to Sonny the communal cup of trembling that is both a mode and an instance of envisioning and treating music in its unifying terms, seeing how they coalesce through a holistic vision.

James Baldwin Review
The Aid Industry and the ‘Me Too’ Movement
Charlotte Lydia Riley

belief was that that sort of thing was unlikely to happen in such a moral, professional organisation’ ( Anderson, 2017 ). Many whistleblowers are only able to justify speaking out by arguing that the behaviour they are exposing is undermining and corrupting the mission that they are working towards. Women like Alexia Pepper de Caires at Save the Children made an ‘informed decision’ to speak out about their experiences of harassment and abuse, in a lonely

Journal of Humanitarian Affairs
Abstract only
Jana Funke

second half of the 1920s, when Hall was preparing The Well of Loneliness, and after the obscenity trials of 1928, which catapulted her work into public consciousness. As a whole, these previously unpublished materials offer new insights into Hall’s diverse thematic interests, stylistic choices and political investments: her fascination with social outsiders and misfits; questions of gender, sexuality, class, race and age; the dynamics of community; debates about spirituality, religion and the supernatural; and the First World War and national politics. As such, this

in ‘The World’ and other unpublished works of Radclyffe Hall
Margret Fine-Davis

community and connectedness to other people, whereas social isolation measures loneliness and a lack of connection to people. This measure contains six items, three phrased in a positive direction (‘There are plenty of people that I can lean on in case of trouble’, ‘There are many people that I can count on completely’ and ‘There are enough people that I feel close to’) and three in a negative direction (‘I experience a general sense of emptiness’, ‘Often, I feel rejected’, and ‘I have felt lonely’). The Generations and Gender set of items had included the item, ‘I miss

in Changing gender roles and attitudes to family formation in ireland
Smiths fans (and me) in the late 1980s
Karl Maton

fans often expressed intimate relationships with Morrissey but also intense feelings of loneliness and isolation, even from fellow Smiths fans – a highly individualistic form of subcultural membership. I also explore the experience of researching such an intense community when one is a member. In Apocalypse Now (Coppola, USA, 1979), Martin Sheen’s character ‘Willard’ narrates: It was no accident that I got to be the caretaker of Colonel Walter E. Kurtz’s memory. . . . There is no way to tell his story without telling my own. And if his story is really a confession

in Why pamper life's complexities?
Mia-Marie Hammarlin

1 In the middle of the media storm This part of the book presents fundamental themes in the interviews with the central figures of the scandals and their partners. I initially focus on the changes in everyday life that each scandal involved for those affected by it and the emotions it engendered. Initially, the emphasis is on the experience of actually being at the centre of a scandal and on the feelings of loneliness, guilt, shame, grief, and anger that came to dominate the lives of several of those affected. I will use everyday life as a starting-point, where

in Exposed